5.12 The Foundations of Fourteenth-Century Italian Painting

Prior to the fourteenth century, Italian painting was dominated by the Byzantine style, as we can see from the Saint Francis Altarpiece by Bonaventura Berlinghieri (ca. early 13C). In Christian iconography, Saint Francis is always identified by the stigmata, wounds resembling those Christ received on his crucifixion (note the piercing wounds on the saint's hands and feet).

In this composition, Saint Francis and the two angels flanking him are entirely flat and frontal, and they exhibit familiar formal gestures. Notice also how the saint's feet seem to float about his podium. These elements, along with the gold leaf background, are clearly characterized by the Byzantine style. The other scenes on the altarpiece are vignettes of the saint's life and are not germane to our discussion.

The command of the Byzantine style in Medieval Italian painting is an important fact to remember, as it makes the seemingly sudden progression of fourteenth-century Italian art all the more striking.

Bonaventura Berlinghieri - "Saint Francis Altarpiece" (ca. early 13C) from the Web Gallery of Art

Pietro Cavallini

Pietro Cavallini (active ca. 1273-1308) was the first Italian artist to make a significant break from the Byzantine style, as we see in our detail of his Last Judgment fresco from Santa Cecilia in Rome.

Here, Cavallini's figures possess definite volume and depth, unlike the flat presentations of the Byzantine style. The composition also carries a beauty, softness and coloration that were completely novel during the artist's lifetime.

Cavallini's work also certainly influenced the great master of the age, Giotto, whom we will study in our next lesson.

Another artist who had a profound impact on fourteenth-century Italian artists was Cenni di Pepi, better known as Cimabue (ca. 1240-1302). Although his works still show the influence of the Byzantine tradition, they nevertheless possess both volumetric depth and naturalism.

Our selection is a massive altarpiece (nearly thirteen feet high) that displays the Madonna¹ enthroned with Child, angels and prophets (from left to right, Jeremiah, Abraham, David and Isaiah).

Here, we see a striking naturalism in both the figural poses and expressions. It is also apparent that Cimabue gave much attention to creating illusionistic depth. Note especially the architectural nature of the throne, the overlapping of figures and the concave structure of the throne's base.

Cimabue - "Madonna Enthroned with Angels and Prophets" (ca. late 13C) from the Web Gallery of Art

¹Traditionally, Mary, the mother of Jesus is called the Theotokos in Byzantine art; the Madonna in Italian art; and the Virgin in Northern art.

• Cimabue - "Madonna Enthroned with Angels and Prophets" (ca. late 13C)

• Madonna

Assignment 5.12 - Term Review

After you have reviewed the cumulative terms in your notebook, complete the online assessment 5.12. Remember that your first submission should be done with a time constraint and without notes.